Tag: best of

2018 was an incredibly busy year in the Japanese shoegaze scene. There were exciting comebacks from beloved artists, brand new bands popping up all over the country, compilation albums galore, and lots of crossing over with international artists. It feels like this happens every time there’s news from MBV, but the year was incredibly active.

As a result, the “best of the year” list was an even bigger pain than it normally is. There was a good number of full length releases in 2018, and as usual the EP count was ridiculously high. There are a ton of omissions that I will certainly get panned for, but in particular the EPs from Nuit, Nurse, 17 Years Old and the Berlin Wall, tip top nap, and figure, among others were all really solid and could have easily made the list. On the album side, plant cell‘s Landscape release would have made it, but since the majority of the record is re-released material it didn’t feel right to include it. Also, the Total Feedback 2018 compilation was one of the best albums this year, but as a continent-wide shoegaze comp it didn’t qualify.

Now that that’s out of the way, here are my favorite releases of 2018:

☆ ★ BEST SINGLE ★ ☆

“Without you” by Otom

Tokyo-based ambient shoegaze producer otom has been steadily releasing singles since his last full-length release five years ago. The first of his 2018 releases, “Without You”, was also his strongest. The 6-minute track is a beautiful, blurry dreamscape of sunken vocals and layers upon layers of guitar and electronics. Otom’s catchy rhythm gets the listener’s attention before a crescendo of hissing static opens a portal to his vast world of sounds. “Without You” is gazey ethereal escapism at its finest.

Perhaps the biggest news of the year in this realm was the sudden release of new material from legendary alternative outfit Coaltar of the Deepers, whose “SUMMER GAZER ’92” single was the band’s first new music in 7 years. Though the track itself was a preview of the “Rabbit EP” that would soon follow, it was the only new track on the CD. The dreamy, jazzy number was perhaps more subdued than expected, but it was a really strong return from NARASAKI and Deepers.

Kyoto’s Browned Butter was one of the most pleasant finds of 2018. The young band announced itself with its debut single “Fall”, which was also included on Ano(t)raks’ “Die in Pop” compilation and would later appear as the title track of the band’s debut EP. “Fall” follows the very familiar Japanese shoegaze formula of a blaring guitar lead and twin vocals, but the former isn’t overly relied on and the latter is done exceptionally well. It’s a lovely song that isn’t even the best song on Browned Butter’s EP, which speaks to the quality of the band in its first year of activity.

There isn’t much else to say about otom that I didn’t already say in this post, but his winter-themed “Snowfall” single was yet another of the best singles of the year. If I stretched this list a bit more, he’d have even more music included.

When I wrote about Tokyo newcomers Kiwi recently, I made the comparison to one of the all-time Japanese shoegaze greats, Ether Feels. It’s a small sample, but their debut single “Beautiful Back” was a bit of emotional nostalgia that hit me in a way that few other tracks did this year.

★ ☆ ★ BEST EP ★ ☆ ★

“(I’m) Lost in Sadness” by Luby Sparks

Not too long after the release of their full-length debut in January, Tokyo’s Luby Sparks announced the departure of their singer Emily. Given her role in helping the band establish itself over the past couple years and how seemingly perfect a fit she was for their sound, there might have been some concern moving forward. But new frontwoman Erika absolutely kills it on the new EP, matching up perfectly with the dreamy melancholy of the new music. Luby Sparks picked right up where they left off with another moody effort that fittingly wraps up with a heart-wrenching version of Mazzy Star’s “Look on Down From the Bridge”.

As is the case every year, the EP pool was extremely deep. While there are more releases than I can reasonably fit in this list, COLLAPSE‘s “Delirium Poetry” sat alongside Luby Sparks’ EP on a tier above the rest. COLLAPSE’s noise attack is relentless on both the EP’s slower, brooding numbers and its pacier tunes. “Meadow” is perhaps the best example of what COLLAPSE do as well as anyone with a beautiful balance of heavy, layered guitars and wispy vocals.

Nagano’s AND LORELEI created a gorgeous listening experience with their “And Lorelei 0.2” EP. The songwriting throughout is really good, and the band showed the ability to create deep, breathtaking songs using a variety of methods. “Umarekawaru” and “Himitsu” are two of my standout tracks of the year.

Yuragi took a massive step forward in 2018 with the release of their “Still Dreaming, Still Deafening” EP. The young Shiga outfit has been consistently impressive over the past couple years, but the new music feels bigger and a bit darker than their previous work – you can especially hear this on the reworked version of “bedside”. I noted in my review that the flow of the EP as a whole feels a bit disjointed, but as a collection of individual tracks, “Still Dreaming, Still Deafening” is as good as any release from last year.

I wish I could make this list longer, as it doesn’t feel right to omit some really really good EPs, but that’s just how it goes every year. Taking my final spot in this post was the debut demo EP “In Demonstrationem” from Tokyo’s Yukla Down. “Torture Me (With Your Kiss)” is a delightful nod to My Bloody Valentine, while “If You Only Knew” is an absolute banger.

★ ☆ ★ BEST ALBUM ★ ☆ ★

“Luby Sparks” by Luby Sparks

So, yeah. 2018 was a pretty good year for Luby Sparks. This one was pretty much decided back in January when their self-titled album hit shelves. Luby Sparks is a warm and emotional yet dynamic collection of pop songs that range anywhere from jangly indie pop to lush dream pop to fuzzed-out gazey guitar rock that feels a lot like something off of Supercar’s iconic Three Out Change album. There’s a sort of gloomy nostalgia hanging over the whole record that is extremely satisfying. No album felt better to me in 2018.

While Coaltar of the Deepers and Sugar Plant got a lot of the comeback release attention this year, Lucy’s Drive‘s double CD release, pair of sounds, was arguably the best of the bunch. Split into a red and a blue version, pair of sounds as a whole is an effective nod to 90s UK shoegaze and britpop, with each of the discs having its own unique feel. The atmosphere ZEPPET STORE bassist Yuichi Nakamura creates in his solo project is consistently deep throughout.

Tokyo’s Once Grace Forever announced themselves in a big way, opting to forego the introductory single or short EP release and putting out a self-titled record that was shockingly good. The 8-track album is decently-produced for a self-produced debut effort and the songwriting is quite good. What really pushes this album to my best of the year list is the depth of sound from start to finish as the album drifts from post rock to more textural shoegaze. It’s not as refined as some of the other releases this year, but the quality of the content is really impressive.

Acidclank‘s Addiction album is another genre-hopping effort that once again shows the band’s affinity for 90s UK indie music. Just as on their 2015 debut, Inner, the band covers a lot of ground, but Addiction never manages to feel weird or inconsistent, thanks largely to more consistent production quality this time around. On the record, Acidclank is at their best when belting out textural psych tunes like “Overdose” and “This Time”. It’s another impressive, versatile release from the Osaka band.

Headlightswas the ultra-mellow, dreamy comeback release from Tokyo dream pop outfit Sugar Plant. The band’s first music in 18 years, Headlights throws it back to the band’s old sound, while also managing to keep things fresh on this tripped-out dream pop return.

In 2017 things got pretty interesting in the Japanese scene. The Daydream events took off this year, drawing some more of the focus away from Tokyo and further establishing Kyoto as Japanese shoegaze’s “second city”. Elsewhere, Nagoya’s local scene got a big bump thanks in large part to releases from local bands and the emergence of some new, young bands. There were also some long-awaited releases, a shoegaze idol group that blew everyone’s minds, and a couple of tragic break ups. It was a busy year with a few intriguing storylines.

In 2017 things got pretty interesting in the Japanese scene. The Daydream events took off this year, drawing some more of the focus away from Tokyo and further establishing Kyoto as Japanese shoegaze’s “second city”. Elsewhere, Nagoya’s local scene got a big bump thanks in large part to releases from local bands and the emergence of some new, young bands. There were also some long-awaited releases, a shoegaze idol group that blew everyone’s minds, and a couple of tragic break ups. It was a busy year with a few intriguing storylines.

Release-wise, there was still the “not enough full length releases and too many EPs” problem, but it was more manageable. The bigger issue this year was the closeness of the contenders. At least for the LP and EP lists, the top spots were pretty obvious in my mind. Below that I did a lot of shuffling throughout the year. So, as is usually the case, I could very easily change this list around in a week or so.

As is the case everywhere there will be some seemingly notable omissions on this list, but there’s a good reason for them. The most obvious one would be Plant Cell, who re-released Flowergaze? in 2017. As it’s just a re-worked version of a 2016 album, I left it off this year’s list. Then there are bands like Apple Light and Crunch who both released really good music this year (the new Apple Light is seriously so good), but neither falls in the blurry realm of shoegaze or dream pop, even at its blurriest. Cairophenomenons, Amsterdamned, Kill My 27, Acidclank, and Looprider all released good stuff this year that would have qualified on their own but ultimately didn’t feel right in this list.

With that out of the way, here are my favorite releases of 2017:

★ ☆ ★ BEST SINGLE ★ ☆ ★

“NEO TOKYO” BY YOUTHMEMORY

At first listen, Neo Tokyo sounds like a pretty big departure from youthmemory’s previous material. This is true in the feel of the music with the usual bouncy rhythm and jangly guitar backdrop replaced by drum machine beats and dense synth pads. However, the Tokyo band’s M.O. of crafting danceable, lush, dreamy pop music remains unchanged. There’s something cold and even a bit gloomy about this release, but it was a great change of pace without ever straying from what had made youthmemory a really enjoyable band. (Bandcamp)

If this list took live performances into account, Fog Park would be right at the top. The Saitama-based newcomers put out two demo singles in 2017 – “cigarette punch” in January and then “sleeping cat” in May. While neither of the demos demonstrates how brutally loud these guys are capable of being, the songs are still really good. I’m looking forward to their recently announced debut mini album “beautiful blood”, that was released on 1/20. (Currently only available at shows)

The Kansai region consistently produces some of the country’s best dream pop acts, and the best of the bunch in 2017 was Mariana in our Heads. The five-piece put out a single an an EP this year, and while the latter received some consideration before ultimately falling to some strong competition, their “Anemone/Yarn” 7-inch was among my favorite singles. While I generally favor harder-hitting, noisy chaos, I do occasionally have a soft spot for really warm synth-laden dream pop. 2017 was a good year for that, and Mariana in our Heads nailed it. (Flake Records)

The most bittersweet entry on this whole list belongs to Ether Feels, whose “moonshine” single would be the last material they released before announcing all of the members would be going their separate ways. The track actually starts off uncharacteristically peppy before transitioning into the sad but catchy melancholic pop sound that Ether Feels spent years doing so well. (Bandcamp)

I have mixed feelings about Japan’s hottest shoegaze band, ・・・・・・・・・(pronounced “dots”). The idol group’s surge in popularity is probably due more to their live gimmicks and cute-but-edgy idol shtick, but their debut single “CD” features some legitimately good music – particulary “Slide” which was written by For Tracy Hyde’s Natsu-bot. I remain skeptical of “alt-idol” acts, but credit where credit is due here. (Amazon)

★ ☆ ★ BEST EP ★ ☆ ★

“INTO THE DREAM” BY SOFTSURF

With all due respect to the rest of the bands who released EPs this year, this one was never going to be close. It’s been fun watching softsurf’s rise over the last couple years, and “Into the Dream” helped solidify their status as the best shoegaze band going in Japan right now. I’ve beaten the Slowdive/Pastel Blue comp into the ground to this point, but it’s pretty remarkable since that sound is so rare here. With their first proper release and a three-city tour in support of it, Softsurf had an incredible year which saw them establish themselves within the national shoegaze scene. And you’ll be hard-pressed to find a better live band in that scene. (Amazon)

Though Softsurf was in a league of its own in 2017, there were still some really good EP releases in the next tier. 17 Years Old And The Berlin Wall put out their second EP Reflect last year, following up their excellent 2015 debut. 17Berlin’s sound pretty much reflects the popular sound in the Japanese shoegaze scene, with male-female vocal harmonies and poppy guitar melodies. What has set them apart, besides the fact that their songs are really catchy, is the fact that hit a bit harder they’re willing to muddy it up a bit and drown some of the sweetness in guitar noise. (Flake Records)

My 2017 Rookie of the Year award goes to Kyoto-based newcomers Nurse, who released their debut EP ODD. Nurse sort of spawned from the very short-lived Hakusen Shikatsu, who released a couple impressive demo tracks earlier in the year and then split. But the new project is even better and way way noisier. Hopefully these guys stick around for a bit. (Bandcamp)

Chiba’s plant cell may not have been qualified for the album of the year award, but they put out two really good EPs in 2017. The first, titled Queen of the Nebula – Fairy Lurking In the Thundercloud, was a thematic departure from their usual nature/spirit-based content, but featured their usual dense, dreamy sound. The second, Cyan, was a collection of new versions of songs previously released on CDs or as singles on Bandcamp. To be clear, the rebuild version of Flowergaze? wasn’t included in the list because it was just a modified version of a previously released album. Cyan, on the other hand, was recorded from scratch and marked plant cell’s first recording as a full band. The result isn’t really all that different, but the live drums add a bit of warmth to some familiar tracks. For a band that’s put out some of the same tracks more than a couple times now, plant cell always manages to keep things interesting. (Disk Union)

Perhaps better known as half of Hachioji-based alternative band The Weddings, singer-songwriter, kano, has been writing some seriously good dream pop tunes over the last 2 years. Her second EP, Shochuu, is short and sweet, including three whimsical, feel-good tracks with some really pretty textures woven along with gentle, breathy vocals. The release was fairly low-key, but the release really hits the spot and rose to the top of a very deep list of 2017 EPs. (File-Under Records)

★ ☆ ★ BEST ALBUM ★ ☆ ★

“HE(R)ART” BY FOR TRACY HYDE

For Tracy Hyde outdid themselves and delivered the most enjoyable album of 2017. While most bands are putting out singles and EPs, the Tokyo-based dreamy indie pop/shoegaze outfit released an incredibly well-written 17-track album (16 if you don’t want to include the intro) that draws on western indie pop influence while conjuring youthful imagery of life in Tokyo. That imagery is key, as He(r)art is structured like a film, down to the movie poster album cover and “Opening Logo”. It’s a nostalgic, playful, and emotional walk through a massive city and impactful relationships made there. While He(r)art is an extremely cohesive album that is best consumed as presented from start to finish, the individual tracks stand well on their own as well. “Leica Daydream”, “Houbutsusen”, and “Teen Flick” are among my personal favorites, while “Ghost Town Polaroids” might be my favorite track of the year. There are some strong contenders below, but For Tracy Hyde owned 2017. (Amazon)

There’s not much to say about Shelling‘s latest album, Waiting for Mint Shower!! The Tokyo-based duo gave us another gorgeous album based on the simple-but-effective formula of blanketing everything in a cascade of reverb-soaked guitars, warm synths, and Aya’s gentle, breathy vocals. The way the tracks subtly evolve over the repetitive beats and lulling bass lines is hypnotic. But you’ve heard all this before. (Amazon)

Taffy is an interesting inclusion, because I almost have to remind myself that they’re a Japanese band. More appreciated overseas than in their home country – which is crazy for a band of their quality – Taffy occasionally emerges in the Tokyo scene as they did in 2017 following the release of their Nyctophilia album. Taffy pushes guitar texture to the foreground, making the deeper lying melodies more subtle and the overall tone of the tracks harsher. The result is a much different album than most of the releases you find on these lists. (Amazon)

One of the biggest surprises of the year was the announcement from Nagoya’s Tokenai Namae that they’d be returning from their fairly lengthy hiatus with a new album. On Seifuku Kanro Kurabu the kayo-pop shoegaze band stayed true to their sound with a cute but chaotic blend of bubbly vocals, bouncy synths, crunchy bass, and ear-blasting guitars. It’s pacier than the first, and everything below the synth leads feels like it’s been bumped in the mix, making things sound a bit messier. A really solid release, which is remarkable considering the band was inactive for the better part of 2017. (File-Under Records)

There are two albums dueling it out for the fifth spot on this best albums list, both of which were fairly long-awaited releases. Cruyff in the Bedroom‘s first full-length album in almost 5 years, Hate Me, was probably the most highly-anticipated Japanese shoegaze release coming into 2017. Caucus‘ first in four years, Sound of the Air, came later in the year and was fairly low-key in comparison. Hate Me had higher highs with a few bangers including HATE and my personal favorite Laurelei, but got a bit too clean and rock n roll at times. Caucus’ record had its own hot track in lead single, “What Have You Done”, but the album was more consistent start to finish, giving it the nod. Caucus changes pace well on the album, going from fuzzy pop tunes to slower, more textural tracks like the almost 9-minute “Circles”. Overall it was a more interesting listening experience. (Caucus on Amazon) (Cruyff in the Bedroom on Amazon)

There was a lot of new shoegaze and dream pop coming out of Japan in 2016, and , even more so than in previous years, album releases were way outnumbered by EPs, singles, and mini albums. As a result I was faced with a couple of problems when putting together my annual “best of the year” list. The first is that there weren’t ten full-length releases that qualified.

There was a lot of new shoegaze and dream pop coming out of Japan in 2016, and , even more so than in previous years, album releases were way outnumbered by EPs, singles, and mini albums. As a result I was faced with a couple of problems when putting together my annual “best of the year” list. The first is that there weren’t ten full-length releases that qualified. Rather than making a numbered list this time around, I’ve decided to just name my favorite single, EP/mini-album, and album of the year, and then name a few honorable mentions for each category.

It’s a completely different feel from what I’ve put together the last couple years, but it serves the same purpose. Enjoy, discuss, buy some music.

Note: I’d like to preface this whole list by saying that I’m aware of the new releases from Kinoko Teikoku, My Dead Ishikawa, Qujaku, and others, and I really liked a bunch of them. Defining genres is tricky, but I decided not to mess with an already blurry line and include the releases that I felt qualified. The aforementioned did not.

★ ☆ ★ Best Single ★ ☆ ★

“Planet Heaven/Perfect Lies” by Juvenile Juvenile

It’s no secret that Juvenile Juvenile is one of my favorite bands in Japan. Their “Our Great Escape” album topped my 2014 list, and the band came back strong with its first recorded material in 2 years. The single was produced by The Bilinda Butcher’ Michal Palmer, and further solidified their status as the finest dream pop band in Japan. It’s also worth noting that Juvenile Juvenile also submitted a really good cover of “I Wish I Was Skinny” for The Blog That Celebrates Itself’s Boo Radleys tribute comp this year.

This was a pretty clear cut winner, but there was some quality in the next group of singles released, headed by Nagoya shoegaze newcomers Softsurf. Their “Blue Swirl/Beautiful Day” single was a really solid debut. If I was doing a “liver performances of the year” list, they’d be right at the top along with Juvenile Juvenile for their performances at Daydream Nagoya.

Saitama’s Collapse was another newcomer to the Japanese shoegaze scene, and they put out a couple of releases in 2016, including their super-gazey “Curse/Drop” single. More on them later.

Tokyo’s Youthmemory put out perhaps their catchiest track yet on the spring 2016 “April Kisses” release. One of the more underrated bands in Japan walking the line between shoegaze and jangly indie pop.

Yukino Chaos – a band that’s established itself as a mainstay of the Japanese shoegaze scene, and one of the best young alternative rock acts in Japan – had a busy 2016 that kicked off with the release of its “Hope for the Future” single. Despite a really positive 2016, the band has unfortunately announced it will be on an indefinite hiatus.

★ ☆ ★ Best EP ★ ☆ ★

“Night Falls” by Magic Love

At this moment, there may not be a better shoegaze band in Japan than Magic Love. The Tokyo band left us wanting more with its 2014 “Dawn” E.P., and after a couple years they delivered. On Night Falls, the band showed that they can deliver big walls of sound and more chilled out dream pop, switching back and forth between male and female vocals flawlessly. “Midnight Baby” has gotten all the love, but “Ghost Novice” was one of the best tracks of the year.

This one wasn’t as easy to pick, due in large part to the fact that there was so much quality released in EP format this year. One of the pleasant surprises was that some of the best EP releases of the year were put out by brand new bands. Collapse made the best singles of the year list, and they also appear on the EP list for their self-titled EP, which was released in February. The Saitama band, not unlike a number of newcomers to the Japanese shoegaze scene, doesn’t shy away from big wall-ish guitars, citing metal among its genre influences.

Scale is another new band that has made the best EP list, but it’s important to note that since the release of its debut EP “Hidden Blue”, the band has changed its name to Waterblink. A throwback to the early 2000s shoegaze scene, Scale goes in hard – its founding member also plays in post punk hardcore band Deviation – but also balances things out with some catchy melodies.

Shiga’s Yuragi turned a lot of heads with the release of their debut EP “Bedside” earlier in the year. Their “Nightlife” EP, which made it in right at the end of 2016, was a massive next step. The band’s second EP had some of the same pop appeal of the first, but also ventured off in a bit more of a darker, more exploratory direction.

One band that’s remained a mystery to me over the last couple years is Sapporo, Hokkaido shoegaze outfit Edy Two Arc (formerly known simply as Edy). Confined primarily to their hometown and Koenji’s HIGH venue, it’s been difficult to access the band from here in Nagoya, but that changed on Christmas Day 2016 with the release of their debut EP “Hide Intention”. Released via Only Feedback Records, the EP boasts a perfect balance of blaring, fuzzed out guitars and beautiful, subtle vocals.

★ ☆ ★ Best Album ★ ☆ ★

“Blood Music” by The Florist

Just like Juvenile Juvenile and Magic Love, 2016 saw The Florist release its first material in two years. The band’s 2014 debut featured a couple of killer singles, but Blood Music is start to finish a more complete album. In tracks like “Marigold” and “Ghosts” – my personal favorite off the record – Blood Music boasts its own signature tracks, and those weren’t even the album’s singles. A very emotional eleven-track ride with some excellent guitar work and gorgeous tones.

Picking the best album of the year was tough, as there were three that I felt strongly qualified. The debut full length effort from Tokyo-based indie/dream pop outfit For Tracy Hyde was right there at the top. Film Bleu is the culmination of the band’s hard work and development since it’s inception in 2012. Featuring a number of tracks previously released on EPs and as demos, Film Bleu showcases some seriously good songwriting in the band’s signature sweet pop style. “After” is a song of the year candidate.

Veterans of the Japanese shoegaze scene, and one of the best around, Osaka’s Ether Feels released a Greatest Hits album in 2016. The nine-track record consists of two previously released EPs and three newly recorded songs, including a new version of fan-favorite “Annabelle”. The melancholy shoegazers continue to pump out heart breaking, nostalgic tunes, with “She’s Wanderlust” highlighting the newest batch of music. Toward the end of the year, Ether Feels also collaborated on a split EP with Yukino Chaos.

Last year, Plant Cell released a lot of quality tracks, but did so one track at a time and thus didn’t really have any material to qualify for a list of best EPs or albums. This year, however, the band released a couple of demo EPs as well as a full album titled Flowergaze?, so their inclusion this time around is a no-brainer. Some of the more beautiful shoegaze you’ll find, Plant Cell’s strength is the ability to weave subtle melodies through dreamy layers of synths and guitars. “Snow and Luculia” is the recommended track off this one.